Everything's Eventual: Five Dark Tales

Description

In his introduction to Everything's Eventual, horror author extraordinaire Stephen King describes how he used a deck of playing cards to select the order in which these 14 tales of the macabre would appear. Judging by the impact of these stories, from the first words of the darkly fascinating "Autopsy Room Four" to the haunting final pages of "Luckey Quarter," one can almost believe King truly is guided by forces from beyond. His first collection of short stories since the release of Nightmares & Dreamscapes in 1993, Everything's Eventual represents King at his most undiluted. The short story format showcases King's ability to spook readers using the most mundane settings (a yard sale) and comfortable memories (a boyhood fishing excursion). The dark tales collected here are some of King's finest, including an O. Henry Prize winner and "Riding the Bullet," published originally as an e-book and at one time expected by some to be the death knell of the physical publishing world. True to form, each of these stories draws the reader into King's slightly off-center world from the first page, developing characters and atmosphere more fully in the span of 50 pages than many authors can in a full novel. For most rabid King fans, chief among the tales in this volume will be "The Little Sisters of Eluria," a novella that first appeared in the fantasy collection Legends, set in King's ever-expanding Dark Tower universe. In this story, set prior to the first Dark Tower volume, the reader finds Gunslinger Roland of Gilead wounded and under the care of nurses with very dubious intentions. Also included in this collection are "That Feeling, You Can Only Say What It Is in French," the story of a woman's personal hell; "1408," in which a writer of haunted tour guides finally encounters the real thing; "Everything's Eventual," the title story, about a boy with a dream job that turns out to be more of a nightmare; and "L.T.'s Theory of Pets," a story of divorce with a bloody surprise ending. King also includes an introductory essay on the lost art of short fiction and brief explanatory notes that give the reader background on his intentions and inspirations for each story. As with any occasion when King directly addresses his dear Constant Readers, his tone is that of a camp counselor who's almost apologetic for the scare his fireside tales are about to throw into his charges, yet unwilling to soften the blow. And any campers gathered around this author's fire would be wise to heed his warnings, for when King goes bump in the night, it's never just a branch on the window. --Benjamin Reese